08 # 4 9 6 | 1 9 . 0 4 . 2 0 1 7 中大藝術系有何獨特之處？ 藝術系歷史悠久，前身是1957年於新亞書院成立的兩年制藝術專修 科，其後發展為四年制。1963年香港中文大學成立，新亞書院為成員 書院之一，藝術系成為香港第一個提供專上藝術教育的學系。後來不 同大專院校的藝術課程相繼出現，有些注重創作，有些集中研究藝術 史，而中大藝術系則理論與創作並重，以傳統中國藝術為課程核心。 藝術系的每位學生都經過嚴格挑選，正因師生比例小，彼此的關係相 當密切。 如何團結系內研究不同藝術範疇或從事不同創作的老師？ 只要老師們都熱愛藝術、認真教學，大家真誠相處，做事就自然會齊 心。教研人員的不同背景與專長能展現藝術系的多元文化，當我們需 要某個範疇的專家意見，可以詢問相關的同事。遇上大型活動，又可 分工合作，共同為藝術教育而努力。 現在高等院校的藝術課程愈來愈多，會否形成院校間激烈的 競爭？ 應該說合作的機會多了，例如我們和浸會大學視覺藝術院訂立協議， 讓兩校學生可到對方學校上課，這樣學生可選修的科目範圍就更廣。 其實多了專上藝術院校，不僅增加中學畢業生的升學選擇，藝術系畢 業生也可到不同的院校執教，有助提升本港整體藝術教育的氣氛。 你心目中理想的藝術系學生需要具備甚麼特質？ 我希望他們擁有較全面的知識，除了藝術範疇外，亦對其他學科具備 一定的認識，以融入中大這所研究型綜合大學。另外，品德亦非常重 要，收生面試時，老師們會在言談間觀察學生的為人─是否誠懇？ 是否真誠對待藝術？對藝術又有多大熱忱？ 藝術系如何栽培這一類學生？ 除了課堂上的學習，我們鼓勵學生與不同團體交流和實習、積極參與 國際藝術博覽，在本港以至海外不同的展館呈現他們的作品，希望 學生在老師的指導下，能獲得更多創作經驗，並從中學習如何待人處 事，因為最有效的藝術或品德教育不是灌輸，而是老師們的身教。 近年來，家長對子女修讀藝術的心態可有改變？ 心態比起以前開明多了，過往很多人認為藝術系畢業後就只能做藝術 家，而當藝術家又一定很難維持生計。但現在經濟比以前進步，藝術 家有更多工作機會，學生畢業後可以選擇做學者、老師，甚至藝術行 政、設計、傳媒、導演等工作，出路多了，家長的心態也放寬不少，願 意支持子女發展所長。 現今社會對藝術的支持又如何？ 公營或私營機構普遍都願意為藝術發展投放更多資源。博物館、畫 廊與展覽廳等場地的數目不斷增加，私營畫廊也願意為新晉藝術家 宣傳。雖然當中涉及不少商業元素，但畢竟還是為本地年輕藝術工作 者提供更多在香港甚至世界各地發展的機會。 對藝術系六十周年有何感想？又有甚麼展望？ 我們今天能夠享受豐碩的教研成果，實在有賴前人的努力，他們為藝 術系奠定了非常穩固的基礎。未來最大的挑戰，在於一方面要竭力承 傳藝術系的傳統特色，但又不能故步自封、予人守舊的形象。為此，藝 術系將努力爭取更多經費，讓學生到海外交流以增廣見聞，同時亦積 極建立國際化的教研團隊。我的心願是藝術系的師生可在多元的文 化土壤上，專心投入創作與學術研究，讓藝術系能培育更多認真、誠 懇，並擁有多面才華的藝術家。 莫家良教授 Prof. Harold K.L. Mok 藝術系系主任 Chair of the Department of Fine Arts 口 談 實 錄 / V iva V oce Photo by ISO Staff What makes the Department of Fine Arts unique? The Department has a long history which can be traced back to 1957, when a two-year Fine Arts Specialized Training Programme was set up at New Asia College. Two years later, it was developed into a four-year programme. In 1963, New Asia College joined CUHK as one of the University’s constituent Colleges. The Department of Fine Arts then became the first provider of fine arts courses in Hong Kong tertiary institutions. In the decades that followed, we witnessed a growing number of art programmes in higher education. Some focus on studio practice, others on art history. Our curriculum covers both aspects, with a strong emphasis on traditional Chinese art. The Department has a low student-faculty ratio and therefore the relationship between students and teachers has always been very close. How do you unite all faculty members with different expertise? Having faculty members with diverse expertise is a valuable asset to the Department. It means we always have a wide range of talent to support our academic and outreach endeavours. In fact, our faculty members have a lot in common—they are all passionate about art, education and research. We respect each other and a powerful bond between us is natural. Does more art programmes in higher education mean fiercer competition among tertiary institutions? It actually means more chances to cooperate. For example, our Department is working with the Academy of Visual Arts at Baptist University to allow the students to take courses at both institutions. More art programmes in higher education also means more choices for secondary school graduates and more employment opportunities for fine arts graduates. The latter can teach or conduct research at various universities and play prominent roles in enhancing the overall development of art education in Hong Kong. What do you look for in a Fine Arts student? I expect the student to be well-rounded. Artistic talent aside, a Fine Arts student at CUHK has to acquire the attributes deemed important by a comprehensive- research university like CUHK. We also pay special attention to the students’ personalities. During the admission interviews, we look for students who are both genuine and serious about the study and making of art. How does the Department nurture its students? Apart from having lectures and studio practices, we encourage our students to participate in exchange and internship programmes in Hong Kong and abroad, as well as to exhibit their work at international art fairs and exhibitions. We hope that our students would acquire real-world experience by participating in these events under the supervision of their teachers. We also believe that mentoring is an effective way of sharing wisdom, knowledge and value in art and education. Did the parents’ attitude towards art education change over the years? They are becoming more open-minded. Many parents used to think that their children would end up being starving artists after they graduate from art schools. However, in a more affluent society, students of Fine Arts are given more career choices. Apart from becoming an artist, a Fine Arts graduate can work as a curator, designer, reporter or even a film director. How about the society’s support of art? Both public and private enterprises are investing more in the development of art. The numbers of museums and galleries have been increasing over the years. There has also been an increasing number of private galleries in Hong Kong and overseas. Many of them are eager to promote the artworks of emerging artists. Though most of them are commercially driven, a growing art market nevertheless opens up new platforms for young artists to have their artworks exhibited in Hong Kong and all over the world. How do you feel about the Department’s 60th anniversary and how would you envision its future? I feel very grateful to the founders of the Department. It’s our mission to preserve our tradition, but at the same time, we have to keep moving forward. In recent years, the Department has been actively acquiring financial support to expose our students to the global art scene. We are also building a very international faculty with an aim to add new perspectives to both teachers and students. I hope that our Department can continue to provide a very favourable environment for art education and research, as well as to nurture more emerging artists with all-rounded skills to serve the international art communities.